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INSTITUTIONAL / SOCIETAL CRITIQUE

Reparation, 2023

Reparation, 2023 by Hannah Imhoff

banner, mesh, bungy, cable ties

 

This artwork was specifically made for the MA Show 2023 of the Chelsea College, University of Arts London (UAL).

This artwork is a political statement. 
It is about money. 
It is about power. 
It is about responsibility. 
It is about decolonisation. 
This artwork questions the notion of home and targets the UAL. 
It is institutional critique. 

I use the UAL cooperate design for this statement. The proposal for this artwork went up the UAL hierarchies till it got due to incredible commitment of my tutors and the believe in freedom of speech finally approved. It started internal discussions about decolonisation strategies of UAL and was from the 3rd till 9th July publicly visible next to the Tate Britain.


 

The Idea Europe, 2022

The Idea Europe, 2022 by Hannah Imhoff
unfired clay, chicken wire, suckers, tape, paper signs

'The Idea Europe' was one of the first artworks I did, when I started my MA in London, UK. It refers to the European Union, an idea that became utopia in Britain. The remarkable silhouette, a symbol of unity, is on display in London and points to the Brexit. The cracks in the thirsting, drying clay point to the fragility of the idea, which cannot be taken for granted. The metal wire sticking out of the clay refers to the fences that are also part of the European Union, and the tape to the exclusionary border line frontex.

Living Conditions, 2022

Living Conditions, 2022 by Hannah Imhoff
0.8 steal plates, steal rod, magnets, screws, sticky tape
metal plates in three sizes: 500x333 mm, 333x333 mm & 333x166,5 mm 
metal rods in two sizes: 180 mm & 55 mm

photographed by Fan Gengjun 

Installation shoots form 'Living Conditions, 2022' and the performance workshop 'Living Conditions' in 'DUMP01', curated by Chaney Diao & Yu Li at Greatorex Street Gallery in October 2023. 

Acquisition from DUMP Archive, 2023

photographed by Yu Li

Untitled, 2023

Dirty Laundry, 2023 by Hannah Imhoff

metall, glas, string, clamps, white shirt, bath bomb 

This artwork can also be rececyled in pink.

Power Relations, 2023

Power Relations, 2023 by Hannah Imhoff

white 3D prints of a UK Plug, a European Plug, an adapter, metall shelve’s, black 3D prints of a Hong Kong Plug & UK Plug, framed excerpt of the Hong Kong Electricity Regulation 

photographed by Monika Drabot

Power Relations is a work about the history, politics and diplomacy that objects inherit and represent. In the first part, the visitor finds a UK plug and an European plug next to each other, which are stuck in themselves, thus are non-functional. An adapter is stored on an upper shelf, with which the viewer can connect the UK plug to the European plug, a path that UK politics could have taken. 
The other installation seems to display two identical black plugs, where one of which is from Hong Kong and the other from the UK. Due to colonialism these two countries have the same type of plugs. And, as visible in the framed excerpt from the current Electricity Regulation, the Government of Hong Kong is still obliged to produce it's plugs under the copyright of the British Standard Institution.

 

Calling Cards
(Reminder to myself), 2020-21

Visitenkarten (Erinnerung an mich selbst) / Calling Cards (Memory of Myself), 2020–2021 by Hannah Imhoff

offset print on card

Museum der Moderne Salzburg Collection—Acquisition from Federal Gallery Funds, 2022

photographed by Rainer Igler

Am I as a white person allowed to deal with racism in my work?

It feels wrong, ignorant, presumptuous, and unjustified. But I do it anyway. You’re reading my words here because I don’t believe that racism is just an American prob- lem or that racists are just right-wingers and Nazis—rather, they are people like you and me. As a white person, I have the choice to acknowledge it or turn a blind eye to it.

Inspired by Adrian Piper’s My Calling (Card) #1, my Calling Cards hint at our racist society. My goal is to open up a space to talk about white privilege, our own failings, insecurity and how we can do better.”

Visitors are encouraged to take Imhoff’s Calling Cards home.

Please find further information in the brochure of the exhibition Collecting Policy New Works in the Museum der Moderne Salzburg.

My Calling (Card) #1 (for Dinners and Cocktail Parties), by Adrian Piper

Racist Society -
a problem description with open end, 2020-21